Intrada released two new CDs this week -- Laurence Rosenthal's score for the 1989 TV movie THE FORGOTTEN, directed by James Keach and starring Keith Carradine and Steve Railsback (who also co-wrote the script); and a remastered, slightly expanded version of Jerry Goldsmith's re-recording of his own score for the 1964 Western RIO CONCHOS, including his prologue music for The Agony and the Ecstasy.

Varese Sarabande has announced two new score CDs to be released on September 3rd - ADORE (formerly titled Two Mothers), a drama about two women (Naomi Watts, Robin Wright) who have affairs with each other's adult sons, directed by Anne Fontaine (Coco Before Chanel) and scored by fan favorite Christopher Gordon (Mao's Last Dancer, Master and Commander, Moby Dick, On the Beach, Daybreakers ); and the horror TV series HEMLOCK GROVE, scored by Nathan Barr (True Blood, Hostel 1 & 2).

The latest CD from Kriterland features John Williams' offbeat, striking score for the famously unsuccessful (but surprisingly watchable) 1976 Marlon Brando-Jack Nicholson Western THE MISSOURI BREAKS, featuring both Williams' LP re-recording (previously released on CD by Ryko and Varese Sarabande) with the previously unreleased original score tracks).

Quartet has announced two upcoming, imminent score CDs -- the first-ever release of Michael Kamen's score to CRUSOE, the 1988 film version of the Daniel Defoe classic Robinson Crusoe, with Aidan Quinn as the eponymous castaway, directed by one of the world's greatest cinematographers, Caleb Deschanel; and a CD pairing two scores previously released only on CD -- Michael Kamen's score for Neil Jordan's excellent romantic noir MONA LISA, which earned Bob Hoskins a much-deserved Best Actor Oscar nomination, and Stanley Myers and Hans Zimmer's score for Nicolas Roeg's true-life drama CASTAWAY, starring Oliver Reed and Amanda Donohoe.

La-La Land has announced several upcoming CDs, including the first commercial release of Shirley Walker's Christmas-themed thriller score for TURBULENCE (July 16) and Alan Silvestri's score for the imminent sequel RED 2 (July 30), as well as such in-development releases as a two-disc THE MATRIX RELOADED (Don Davis), POLICE ACADEMY (Robert Folk) and THE WARRIORS (Barry DeVorzon).

July 12 - James Bernard died (2001)
July 12 - Benny Carter died (2003)
July 12 - Fred Steiner's score for the Star Trek episode "Who Mourns For Adonais?" is recorded (1967)
July 12 - Fred Steiner's score for the Star Trek episode "Elaan of Troyius" is recorded (1968)
July 13 - Ernest Gold born (1921)
July 13 - You Only Live Twice opens in New York (1967)
July 14 - Michel Michelet born (1894)
July 14 - J.A.C. Redford born (1953)
July 15 - Geoffrey Burgon born (1941)
July 15 - Bill Justis died (1982)
July 16 - Fred Myrow born (1939)
July 16 - Stewart Copeland born (1952)
July 17 - Wojciech Kilar born (1932)
July 17 - Peter Schickele born (1935)
July 17 - Stanley Wilson died (1970)
July 17 - Jerry Goldsmith begins recording his score to Babe (1975)
July 17 - Bruce Broughton begins recording his score to Eloise at Christmastime (2003)
July 18 - David Shire records his score for the Amazing Stories episode "Hell Toupee"(1985)

DID THEY MENTION THE MUSIC?

THE LONE RANGER - Hans Zimmer

"With tips of the 10-gallon chapeau to old Hollywood westerns (the John Ford vistas) and to spaghetti westerns (the Ennio Morricone-like soundtrack twang), Verbinski's opus oater looks beautiful, and plays smart. And yes, they even work kemosabe in there. Hi-yo, Silver! Away!"

Steven Rea, Philadelphia Inquirer

"When 'The William Tell Overture,' the Ranger’s theme song since his radio days in the 1930s, finally blares on the soundtrack after being sneakily withheld for much of the picture, the effect is so rousing that you levitate in your seat a little bit. Made at a reported cost of a whopping $250 million, 'The Lone Ranger'certainly looks wonderful, with beautiful John Ford-style vistas, a score inspired by Ennio Morricone and action set pieces that minimize the use of CGI whenever possible."

Rene Rodriguez, Miami Herald

"And as satisfying as it is to hear snatches of Rossini's 'William Tell Overture' and hear a stirring 'Hi-Yo, Silver,' it's just as sad to report that although this Lone Ranger is good at helping strangers, rescuing his own film is beyond even him."

Kenneth Turan, Los Angeles Times

"While the movie does indeed have all sorts of potentially objectionable fun with the Lone Ranger ideal, put forward so seriously in the old television series, the fact of the matter is that the revival of the character here is merely a pretext to allow Verbinski and company to pay goofy tribute to pretty much every Western ever made. I hope someone made sure to pay Ennio Morricone residuals on the leitmotif from the score of 'Once Upon A Time In The West' that Hans Zimmer's score quotes from so frequently."

Glenn Kenny, MSN.com

"Presumably, the myth will be burnished in future installments, although it’s difficult to foresee ‘The Lone Ranger’ becoming an international hit. No doubt the baby boomers who grew up with the original forms will smile when the ‘William Tell Overture’ kicks in during the film’s climactic sequence, but director Gore Verbinski’s strenuous efforts to inject enough violence, spectacle and action to make ‘The Lone Ranger’ comprehensible to foreign audiences wind up making way too much of way too little."

Ann Hornaday, Washington Post

"Adding insult to injury, racism isn't even 'The Lone Ranger''s only problem. There's also its bloated length; its score, which dares to introduce an Ennio Morricone homage into a film Sergio Leone wouldn't line his gatto's litter box with; its waste of some great character actors (Barry Pepper, William Fichtner); its assumption that having random characters ask the Lone Ranger 'What's with the mask?' over and over is the funniest joke ever; and its failure to follow through on its few inventive elements -- that herd of Monty Python-inspired rabbits, for example."

Cheryl Eddy, San Francisco Bay Guardian

"Still, there's no denying that Verbinski is good at this stuff. When the train is speeding along, and the Lone Ranger is riding his white horse on top of the train, and Tonto is dancing to avoid bullets, and a bridge the size of Hoover Dam is about to be blown up, and 'The William Tell Overture'is finally -- finally! - budda-bump budda-bumping away, your heart races a little bit, and you realize: This is why I wanted to see this movie!"

Owen Gleiberman, Entertainment Weekly

"There are some shameless thefts from Sergio Leone's great 'Once Upon a Time in the West,' which include not only the railroad-baron plot but specific sound effects. (The soundtrack even occasionally apes Ennio Morricone's brilliant score.)"

Stephen Whitty, Newark Star-Ledger

"There are likable nods to 'Once Upon a Time in the West' (in particular a railroad subplot and the oscillating dramatic score), 'Little Big Man,' 'The Searchers,' and 'The Bridge on the River Kwai.' The final action sequence (also set on a train) proves to be as exhausting as the first was amusing, with the body count escalating unpleasantly and the 'William Tell Overture' -- used sparingly throughout most of the film—commencing to trample everything in its path."

Christopher Orr, The Atlantic

"There’s a terrific scene in 'The Lone Ranger' that reminds you it was directed by Gore Verbinski, the crazily inventive skipper behind the 'Pirates of the Caribbean' movies. While two runaway trains careen down parallel tracks toward a dynamited bridge, a masked lawman on a white stallion gallops through and atop the passenger compartments, a fearlessly gymnastic Indian leaps and swings between the locomotives, a damsel and her son evade pistol-packing outlaws from several directions, and the cavalry charges through the rugged canyons -- all to the rousing tune of 'The William Tell Overture.' Unfortunately, that scene is preceded by two hours of tedium."

Joe Williams, St. Louis Post-Dispatch

THE WAY, WAY BACK - Rob Simonsen

"Let us assume this film's title refers to its young protagonist's self-assigned seat in the family station wagon, from which he bursts free to a heartstring-tugging music swell near the end."